Here is a purr of fortune’s, sir, or of fortune’s cat — but not a musk-cat — that has fallen into the unclean fishpond of her displeasure, and, as he says, is muddied withal: pray you, sir, use the carp as you may; for he looks like a poor, decayed, ingenious, foolish, rascally knave. I do pity his distress in my similes of comfort and leave him to your lordship.
— Clown, All’s Well That Ends Well
It has truly been a fortunate year. From my brother’s wedding to a brilliant research trip tp the Huntington Library, not to mention a relatively dry and warm fall and winter in Portland, I am sure I’m at the zenith of Fortune’s Wheel, and so steady myself for rougher waters ahead. In reflection on a great deal of good news and satisfying work, this post cobbles together a few year-end notes.
¶ According to American Theatre magazine, “Shakespeare remains the most-produced playwright in the country, with 108 productions (including various adaptations). And this year his most-produced play will be Twelfth Night with 9 productions.” In fact, Shakespeare in Love was the most produced play of the year, with 15 full-scale professional productions nation-wide. This does not take into account all of the Shakespeare-ish works making the rounds to be excited for, including the Reduced Shakespeare Company’s William Shakespeare’s Long Lost First Play (Abridged) and Emma Whipday’s Shakespeare’s Sister. If you are in the Portland area this fall, there are a couple of exciting productions to keep your eyes peeled for.
¶ Pericles Wet
¶ This December, Portland Shakespeare Project will be producing a full-scale run of my colleague, Ellen Margolis’ adaptation of Pericles, Prince of Tyre. Based on the act printed in a recent issue of Prosceniumand a reading I saw last year, this is likely to prove special. This re-magining refocuses on the assault of Princess Hesperides and the framing device of Gower.